On the occasion of his multiple exhibits, including a major mid-career survey at MASS MoCA, the artist Clifford Ross welcomed Rail publisher Phong Bui to his West Village studio to discuss his life, work, and more.
Kiki Smith sat down with Sam Messer to discuss his collaborative work with the writers Jonathan Safran Foer and Denis Johnson, now on exhibit at Fredericks & Freiser. Smith and Messer met in 1996 at the Moonhole Artist Colony on the island of Bequia, which is part of St. Vincent and the Grenadines.
In the pantheon of art writers Peter Schjeldahl holds a special place near the top as one of our greatest living critics. He entered the New York scene in the 60s, a poet and college dropout escaping a Lutheran upbringing in Minnesota.
Alex Bacon met with David Reed and Mary Heilmann at their exhibition at the Hamburger Bahnhof - Museum für Gegenwart in Berlin to discuss their friendship, the process of putting together a two-person show based on that relationship, and what theyve learned from doing it.
Our concept of painting is notoriously vague. Arguably, any of our categories and concepts of art are. But the theoretical means used to characterize and essentialize painting over the previous several decades is all too well known; today its uncontroversially understood that painting constitutes almost anything, if it does not already constitute everything.
An artists late works provide easy targets for criticism because they often do not correspond to the accepted readings of the artists earlier, iconic work. That late works often mark a new beginning can be seen in the careers of long-lived artists such as Picasso, or more recently, Alex Katz. A retrospective of the thirty-odd year career of Iranian-American Shirin Neshat (b. 1957, Iran) currently on view at the Hirshhorn Museum in Washington, D.C., Shirin Neshat: Facing History, affords a welcome opportunity to address this question.
WHEN ATTITUDE BECOMES A FOUNDATION
By Thyrza Nichols Goodeve
Making the Impossible Possible in North Rhine-Westphalia andfor a Few Days in JulyNew York City
Nowhere is the myopic New York-centrism that Saul Steinberg so famously captured in his March 29, 1976 cover of the New Yorker as ubiquitous as it is in the art world. Although international travel is a given for most art professionals, in 2015 the art-infested boroughs of New York City, branching out from Soho to Chelsea, to Williamsburg, Long Island City, and Bushwick, with museums expanding in ways both depressing (MoMA) and exhilarating (the Whitney), it is hard not to continue to call New York the center of the art world.